1840s, Past and Present (1843)
“He straightway spreads his arms about the garlanded fire, and absorbs the prophetic vapours with glowing countenance.”
Ille coronatos iamdudum amplectitur ignes,
fatidicum sorbens vultu flagrante vaporem.
Source: Thebaid, Book X, Line 604 (tr. J. H. Mozley)
Sisyphus as translated by R. G. Bury, and revised by J. Garrett
My Comrade, reported in Bartlett's Familiar Quotations, 10th ed. (1919).
“Seen through the glow of a building orgasm, a woman seems to blaze with angelic glory.”
Source: Ringworld (1970), p. 165
“She would rather light a candle than curse the darkness, and her glow has warmed the world.”
Remark upon learning of the death of Eleanor Roosevelt, drawing upon the motto of the Christopher Society: "It is better to light one candle than curse the darkness." ; quoted in The New York Times (8 November 1962)
Book I, lines 417–430 (pp. 23–24)
The Lusiad; Or, The Discovery of India: an Epic Poem (1776)
“So perish all, whose breast ne'er learn'd to glow
For others' good, or melt at others' woe.”
Source: The Works of Mr. Alexander Pope (1717), Elegy to the Memory of an Unfortunate Lady, Line 45. Compare Pope's The Odyssey of Homer, Book XVIII, line 269.
Context: Lo these were they, whose souls the Furies steel'd,
And curs'd with hearts unknowing how to yield.
Thus unlamented pass the proud away,
The gaze of fools, and pageant of a day!
So perish all, whose breast ne'er learn'd to glow
For others' good, or melt at others' woe.
Amir Khurd, Siyar-ul-Awliya, New Delhi, 1985, pp. 111-12. Quoted in S.R.Goel, The Calcutta Quran Petition (1999) ISBN 9788185990583
1880s, Reminiscences (1881)
Context: In several respects, I consider my father as one of the most interesting men I have known. He was a man of perhaps the very largest natural endowment of any it has been my lot to converse with. None of us will ever forget that bold glowing style of his, flowing free from his untutored soul, full of metaphors (though he knew not what a metaphor was) with, all manner of potent words which he appropriated and applied with a surprising accuracy you often would not guess whence; brief, energetic, and which I should say conveyed the most perfect picture — definite, clear, not in ambitious colors, but in full white sunliglit — of all the dialects I have ever listened to. Nothing did I ever hear him undertake to render visible which, did not become almost ocularly so. Never shall we again hear such speech as that was. The whole district knew of it and laughed joyfully over it, not knowing how other-wise to express the feeling it gave them; emphatic I have heard him beyond all men. In anger he had no need of oaths, his words were like sharp arrows that smote into the very heart. The fault was that he exaggerated (which tendency I also inherit), yet only in description and for the sake chiefly of humorous effect.
About
Context: "This sort of fiction, commonly called "sword and sorcery" by its fans, is not fantasy at its lowest, but it still has a pretty tacky feel; mostly it's the Hardy Boys dressed up in animal skins and rated R ( and with cover art by Jeff Jones, as likely as not). Sword and sorcery novels and stories are tales of power for the powerless. The fellow who is afraid of being rousted by those young punks who hang around his bus stop can go home at night and imagine himself wielding a sword, his potbelly miraculously gone, his slack muscles magically transmuted into those "iron thews" which have been sung and storied in the pulps for the last fifty years.
"The only writer who really got away with this sort of stuff was Robert E. Howard, a peculiar genius who lived and died in rural Texas ( Howard committed suicide as his mother lay comatose and terminally ill, apparently unable to face life without her). Howard overcame the limitations of his puerile material by the force and fury of his writing and by his imagination, which was powerful beyond his hero Conan's wildest dreams of power. In his best work, Howard's writing seems so highly charged with energy that it nearly gives off sparks. Stories such as "The People of the Black Circle" glow with the fierce and eldritch light of his frenzied intensity. At his best, Howard was the Thomas Wolfe of fantasy, and most of his Conan tales seem to almost fall over themselves in their need to get out. Yet his other work was either unremarkable or just abysmal... The word will hurt and anger his legion of fans, but I don't believe any other word fits. Robert Bloch, one of Howard's contemporaries, suggested in his first letter to Weird Tales that even Conan wasn't that much shakes. Bloch's idea was that Conan should be banished to the outer darkness where he could use his sword to cut out paper dolls. Needless to say, this suggestion did not go over well with the marching hordes of Conan fans; they probably would have lynched poor Bob Bloch on the spot, had they caught up with him back there in Milwaukee." ~ Stephen King, Danse Macabre, p. 204,
Manuscript, Sermons; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 655.
“And yet it is hard to believe that anything
in nature could stand revealed as solid matter.
The lightning of heaven goes through the walls of houses,
like shouts and speech; iron glows white in fire;
red-hot rocks are shattered by savage steam;
hard gold is softened and melted down by heat;
chilly brass, defeated by heat, turns liquid;
heat seeps through silver, so does piercing cold;
by custom raising the cup, we feel them both
as water is poured in, drop by drop, above.”
Etsi difficiile esse videtur credere quicquam
in rebus solido reperiri corpore posse.
transit enim fulmen caeli per saepta domorum,
clamor ut ad voces; flamen candescit in igni
dissiliuntque ferre ferventi saxa vapore.
tum labefactatus rigor auri solvitur aestu;
tum glacies aeris flamma devicta liquescit;
permanat calor argentum penetraleque frigus
quando utrumque manu retinentes pocula rite
sensimus infuso lympharum rore superne.
Book I, lines 487–496 (Frank O. Copley)
De Rerum Natura (On the Nature of Things)
“I will become a firefly and even in the day my glow will be seen in spite of the sun.”
Source: The Greatest Salesman in the World (1968), Ch. 16 : The Scroll Marked IX, p. 94.
Context: I will become a firefly and even in the day my glow will be seen in spite of the sun. Let others be as butterflies who preen their wings and yet depend upon the charity of a flower for life. I will be as the firefly and my light will brighten the world.
“A thousand forms and passions glow
Upon the world-wide canvas.”
The Ancient And Modern Muses
Context: A thousand forms and passions glow
Upon the world-wide canvas. So
With larger scope our art we ply;
And if the crown be harder won,
Diviner rays around it run,
With strains of fuller harmony.
A Week on the Concord and Merrimack Rivers http://www.gutenberg.org/dirs/etext03/7cncd10.txt (1849), Sunday
Context: The hidden significance of these fables which is sometimes thought to have been detected, the ethics running parallel to the poetry and history, are not so remarkable as the readiness with which they may be made to express a variety of truths. As if they were the skeletons of still older and more universal truths than any whose flesh and blood they are for the time made to wear. It is like striving to make the sun, or the wind, or the sea symbols to signify exclusively the particular thoughts of our day. But what signifies it? In the mythus a superhuman intelligence uses the unconscious thoughts and dreams of men as its hieroglyphics to address men unborn. In the history of the human mind, these glowing and ruddy fables precede the noonday thoughts of men, as Aurora the sun's rays. The matutine intellect of the poet, keeping in advance of the glare of philosophy, always dwells in this auroral atmosphere.
"Points of Character", p. 37.
Faraday as a Discoverer (1868)
Context: A point highly illustrative of the character of Faraday now comes into view. He gave an account of his discovery of Magneto-electricity in a letter to his friend M. Hachette, of Paris, who communicated the letter to the Academy of Sciences. The letter was translated and published; and immediately afterwards two distinguished Italian philosophers took up the subject, made numerous experiments, and published their results before the complete memoirs of Faraday had met the public eye. This evidently irritated him. He reprinted the paper of the learned Italians in the Philosophical Magazine accompanied by sharp critical notes from himself. He also wrote a letter dated Dec. 1,1832, to Gay Lussac, who was then one of the editors of the Annales de Chimie in which he analysed the results of the Italian philosophers, pointing out their errors, and' defending himself from what he regarded as imputations on his character. The style of this letter is unexceptionable, for Faraday could not write otherwise than as a gentleman; but the letter shows that had he willed it he could have hit hard. We have heard much of Faraday's gentleness and sweetness and tenderness. It is all true, but it is very incomplete. You cannot resolve a powerful nature into these elements, and Faraday's character would have been less admirable than it was had it not embraced forces and tendencies to which the silky adjectives "gentle" and "tender" would by no means apply. Underneath his sweetness and gentleness was the heat of a volcano. He was a man of excitable and fiery nature; but through high self-discipline he had converted the fire into a central glow and motive power of life, instead of permitting it to waste itself in useless passion. "He that is slow to anger" saith the sage, "is greater than the mighty, and he that ruleth his own spirit than he that taketh a city." Faraday was not slow to anger, but he completely ruled his own spirit, and thus, though he took no cities, he captivated all hearts.
First Ennead, Sixth Tractate, Section 9
The First Ennead (c. 250)
Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.
Life Without and Life Within (1859), The Captured Wild Horse
Context: p>On the boundless plain careering
By an unseen compass steering, Wildly flying, reappearing, —
With untamed fire their broad eyes glowing
In every step a grand pride showing,
Of no servile moment knowing, —Happy as the trees and flowers, In their instinct cradled hours,
Happier in fuller powers, —See the wild herd nobly ranging,
Nature varying, not changing,
Lawful in their lawless ranging.</p
Book V, Chapter 12, "Of Titles"
Enquiry Concerning Political Justice (1793)
2010s, 2019, June, Remarks on the 75th Anniversary of D-Day in Colleville-sur-Mer, France
Book 1, Chapter 3 “On the Red Road” (p. 160)
The Elric Cycle, The Fortress of the Pearl (1989)
Source: The Characteristics of the Present Age (1806), p. 268
Source: The Dietetics of the Soul; Or, True Mental Discipline (1838), p. 95 1852 tr
Z̤iāʼulḥasan Fārūq in: p. 1-2.
About Zakir Hussain, Quest for Truth (1999)
Source: Intercourse (1987), Chapter 4
Robert Walton in "Letter 1"
Frankenstein (1818)
“Patience in a person glows like a jewel.”
[Mizan al-Hikmah, Muhammadi Reishahri, Muhammad, Dar al-Hadith, 2010, 3, Qum, 217]
General Quotes
translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Hendrik Willem Mesdag's brief, in het Nederlands:) Ik heb het onderwerp bestudeerd en geschilderd direct naar de natuur [zijn schilderij 'Schevenings strandgezicht' uit 1869] en ik heb getracht dat motief eenvoudig en ongekunsteld weer te geven, zonder er een schilderij met veel éclat van te willen maken.
In a letter to his Belgium friend, the painter A. Verwee, 19 March 1870; as cited in Hendrik Willem Mesdag 1831 – 1915; De Schilder van de Noordzee, Johan Poort; Mesdag Documentaire Stichting cop, ISBN 90-74192-14-9; 2001, p. 15
before 1880
Source: The Works of Mr. Alexander Pope (1717), Elegy to the Memory of an Unfortunate Lady, Line 45. Compare Pope's The Odyssey of Homer, Book XVIII, line 269
Source: By the Waters of Babylon (1937)
Source: https://www.theverge.com/22588022/mark-zuckerberg-facebook-ceo-metaverse-interview
"The Way Things Used To Be" (song)
Gilbert O'Sullivan, "The Way Things Used To Be" https://www.youtube.com/watch?v=Iq_p37g6xRU (song on YouTube)
Song lyrics
Source: Faust. Translation by Bayard Taylor
